21. 21
FILIPPO BRUNELLESCHI,
Sacrifice of Isaac, competition
panel for east doors, baptistery,
Florence, Italy, 1401–1402.
Gilded bronze, 1’ 9” x 1’ 5”.
Museo Nazionale del Bargello,
Florence.
22. 22
LORENZO GHIBERTI,
Sacrifice of Isaac, competition
panel for east doors, baptistery,
Florence, Italy, 1401–1402.
Gilded bronze relief, 1’ 9” x 1’
5”. Museo Nazionale del
Bargello, Florence.
29. 29
LORENZO GHIBERTI, east doors (Gates
of Paradise), baptistery, Florence, Italy,
1425–1452. Gilded bronze, 17’ high.
Modern copy, ca. 1980. Original panels in
Museo dell’Opera del Duomo, Florence.
30. 30
LORENZO GHIBERTI, Isaac and His Sons (detail of FIG. 21-10), (Gates of Paradise), baptistery, Florence,
Italy, 1425–1452. Gilded bronze, 2’ 7 1/2” x 2’ 7 1/2”. Museo dell’Opera del Duomo, Florence.
31. 31
DONATELLO, Feast of Herod, panel on the baptismal font of Siena Cathedral, Siena, Italy, 1423–1427.
Gilded bronze , 1’ 11 1/2 ” x 1’ 11 1/2”.
32.
33.
34.
35.
36.
37.
38. 38
PAOLO UCCELLO, Battle of San Romano, ca. 1455 (?). Tempera on wood, approx. 6’ x 10’ 5”. National Gallery,
London.
39. 39
LORENZO GHIBERTI, Isaac and His Sons (detail of FIG. 21-10), (Gates of Paradise), baptistery, Florence,
Italy, 1425–1452. Gilded bronze, 2’ 7 1/2” x 2’ 7 1/2”. Museo dell’Opera del Duomo, Florence.
40. 40
DONATELLO, Feast of Herod, panel on the baptismal font of Siena Cathedral, Siena, Italy, 1423–1427.
Gilded bronze , 1’ 11 1/2 ” x 1’ 11 1/2”.
53. 53
NANNI DI BANCO, Four Crowned
Saints, Or San Michele, Florence, Italy,
ca. 1410–1416Marble, figures 6’high.
Modern copy in exterior niche. Original
sculpture in museum on second floor of
Or San Michele.
54. 54
DONATELLO, Saint Mark, Or San Michele, Florence, Italy,
1411–1413. Marble, 7’ 9” high. Modern copy in exterior niche.
Original sculpture in museum on second floor of Or San
Michele, Florence.
74. Importance of Masaccio to Early
Renaissance
• Tribute Money – brings together innovations in 15th
century painting --- trailblazer whose work influenced
other artists
– Linear perspective
– Aerial perspective
– Classical body types (blend of realism with idealizing
the human form)
– Chiaroscuro to create a more realistic picture, single
light source from the right, modeling the human
anatomy to give figures weight
– Balanced, symmetrical composition
74
75. 75
MASACCIO, Expulsion of Adam and Eve from Eden, Brancacci Chapel,
Santa Maria del Carmine, Florence, Italy, ca. 1424–1427. Fresco, 7’ x 2’
11”.
89. 89
ANDREA DEL VERROCCHIO, David, ca. 1465–1470. Bronze,
4’ 1 1/2” high. Museo Nazionale del Bargello, Florence.
90. Neoplatonism
• A compilation of Platonic, Aristotelian and Stoic
ideas that experienced a strong revival during
the late Middle Ages and the Renaissance.
Central to the philosophy is the notion that
spiritual things are real and that material things
are not. The freeing of the spiritual element, the
soul, from the material element, the body, should
be the ultimate goal of all of mankind and could
be achieved through knowledge and
contemplation.
90
96. Neoplatonism
Embraced by the powerful Medici family.
All sources of inspiration, whether Biblical or Classical (Pagan)
mythology, represent a means of ascending earthly existence to a
mystical union with “the One”.
96
106. Botticelli
Byzantine influence shown in lyrical
use of line.
Decorative and flat space, little
illusion of depth.
Strong focus on Classical
Mythology.
106
128. 128
FRA FILIPPO LIPPI, Madonna and Child with
Angels, ca. 1455. Tempera on wood, 2’ 11 1/2”.
x 2’ 1”. Galleria degli Uffizi, Florence.
129.
130. 130
PERUGINO, Christ Delivering the Keys of the Kingdom to Saint Peter, Sistine Chapel, Vatican, Rome, Italy,
1481–1483. Fresco, 11’ 5 1/2” x 18’ 8 1/2”.
144. ANDREA MANTEGNA,
Saint James Led to
Martyrdom, Ovetari
Chapel, Church of the
Eremitani, Padua, Italy,
1454–1457. Fresco,
approx. 14’ X 11’
(destroyed 1944).
144
